In Conversation

Actor, director, musical director and theatre entrepreneur Andrew Bevis has enjoyed a remarkable career spanning Australia and London’s West End, performing in major productions including Les Misérables, Hello, Dolly!, Rocky Horror and Jerry Springer: The Opera, while also working extensively behind the scenes as a musical director and creative collaborator. In this conversation, Andrew discusses his return to the stage as Michael Dorsey/Dorothy Michaels in Tootsie at Sydney’s Teatro at the Italian Forum. He reflects on his lifelong fascination with theatre, which began with self-produced school productions and led directly from high school into the orchestra pit of The Phantom of the Opera aged just 18.
At the heart of the discussion, however, is Teatro itself. Andrew speaks passionately about building a new professional theatre in Sydney’s Inner West and, even more importantly, creating pathways for the next generation through Teatro’s Theatre Bridge program. Designed to help emerging performers, musicians and backstage artists transition into the profession, the initiative reflects Andrew’s desire to create the kind of opportunities he wished had existed when he was starting out. Along the way, there are reflections on film music, storytelling, John Williams, Steven Spielberg, and more.
Andrew Bevis stars in Tootsie at Teatro at the Italian Forum until 21 June.

Widely regarded as one of the world's finest horn players, Stefan Dohr has been Principal Horn of the Berlin Philharmonic since 1993. In this conversation, Stefan reflects on the remarkable journey that took him from a musical childhood in Essen – where he initially played the viola alongside his brothers – to one of the most coveted positions in the orchestral world. He shares memories of discovering the horn through a Christmas concert, landing his first professional orchestral job at just nineteen, and navigating the pressures of auditions, competitions and life in Germany's demanding opera houses. He offers a glimpse into the unique democratic structure of the Berlin Philharmonic, where all the musicians vote on everything from new members to the appointment of their chief conductor.
Stefan also discusses the changing standards of orchestral playing, the challenges of maintaining world-class technique on one of the most demanding brass instruments, and his passion for expanding the horn repertoire through collaborations with leading contemporary composers. He recalls working with conductors including Claudio Abbado, Sir Simon Rattle and Günter Wand, reflects on his experiences with contemporary music ensembles such as Ensemble Modern, and explains why the horn remains, in his view, the "soul of the orchestra." 
This interview was recorded at the 2025 Australian Festival of Chamber Music in Townsville. Stefan returns to the festival in 2026, which takes place in Cairns from 24 July to 1 August.

Australian violinist Madeleine Easton has built an international career as a soloist, concertmaster and director, performing with some of the world’s leading period and modern ensembles, including the English Baroque Soloists and the Orchestre Révolutionnaire et Romantique under Sir John Eliot Gardiner. In this conversation, Madeleine reflects on the extraordinary journey of founding Bach Akademie Australia nearly a decade ago, the challenges of sustaining an ensemble in Australia, and the deep emotional and intellectual connection she feels to the music of J.S. Bach.
We hear about the mentors who shaped her career, especially Gardiner’s encouragement to establish her own orchestra, and about the transformative experiences that cemented her passion for historically informed performance. Madeleine also shares vivid memories of growing up in an extraordinary musical household, studying at the Conservatorium High School, and forging a path through Australia’s major orchestras before building a career in the UK, driven by exceptional talent combined with bold tenacity.
Bach Akademie Australia performs Collegium Musicum on Friday June 12 at the Mosman Art Gallery, Saturday June 13 at ACO on the Pier, and Sunday June 14 at the Bowral Memorial Hall.

Highly accomplished Australian violinist Dale Barltrop has recently concluded a 10 year tenure as Concertmaster with the Melbourne Symphony Orchestra, having previously held that position with the Vancouver Symphony Orchestra. He’s also appeared as Concertmaster with the Australian World Orchestra, and guest directed the Australian Chamber Orchestra and Camerata. Since 2016, he’s been first violin of the Australian String Quartet. 
Dale reflects on a remarkable musical journey that has taken him from Queensland state school music programs and youth orchestras to leading major orchestras in Australia and North America, before ultimately finding a new artistic home with the Australian String Quartet. He discusses the formative influence of inspirational teachers and mentors, the experience of moving alone to the United States as a teenager, and the unexpected path that led him to become concertmaster of both the Vancouver Symphony Orchestra and the Melbourne Symphony Orchestra. Along the way, he shares memories of childhood obsessions with Vivaldi and Rossini, the collaborative thrill of orchestral leadership, and the realities of balancing two highly sought after roles before deciding to devote himself fully to the Australian String Quartet.
This conversation was recorded at the 2025 Australian Festival of Chamber Music. The 2026 festival is in Cairns and runs from July 24 to August 1.

Award-winning actress and director Blazey Best has spent more than three decades working across theatre, television and film. Her theatre credits include Arcadia and Travesties for the Sydney Theatre Company, The Wild Duck for Belvoir, and The Glass Menagerie for the Ensemble, winning Sydney Theatre Awards for her roles in Ivanov, Medea and Miracle City. She’s appeared in a slew of television favourites, from Water Rats to Heartbreak High and numerous feature films including Ruben Guthrie and Stealth. She’s also turned her hand to directing, including Tell Me on a Sunday for Hayes, and Well Behaved Women for Belvoir.
Blazey speaks about her current role in the heartwarming 84 Charing Cross Road currently playing at the Ensemble, and the fascinating challenge of creating intimacy and a developing relationship expressed only through letters. She looks back on her childhood in regional Victoria, roller skating to disco Beethoven and discovering a love of performance through school musicals and youth choirs. She speaks candidly about the realities of life as a “jobbing actor”, from early television guest roles to the emotional rollercoaster of auditions and reviews, and the importance of building a sense of self beyond the profession. 
Blazey Best stars in 84 Charing Cross Road at the Ensemble Theatre until June 13.